Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Saudi Arabia and from Accra.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1967 to 1971.
I'm losing my edge.
To all the kids in Toronto and Shanghai.
I'm losing my edge to the art-school Edmonton kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1968 at the first Can practice in a loft in Cologne.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Man Eating Sloth to the crunk kids.
I played it at CBGB's.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Beasts of Bourbon. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every Terrestrial Tones record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your snare and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The United States of America,
Robert Hood,
David Bowie,
Danielle Patucci,
Sly & The Family Stone,
The Jesus and Mary Chain,
FM Einheit,
Andrew Hill,
Brass Construction,
Swans,
Louis and Bebe Barron,
The Gap Band,
Oneida,
Oblivians,
The Dave Clark Five,
Joyce Sims,
Steve Hackett,
Grandmaster Flash,
Monolake,
Mary Jane Girls,
Pantaleimon,
The Human League,
Davy DMX,
Grauzone,
Colin Newman,
Bauhaus,
The Vogues,
Terry Callier,
Pole,
Darondo,
the Germs,
UT,
Joey Negro,
Banda Bassotti,
Qualms,
Ultra Naté,
June Days,
Ultimate Spinach,
The Standells,
Hardrive,
Tomorrow,
Bluetip,
Barbara Tucker,
Outsiders,
A Certain Ratio,
Cabaret Voltaire,
The Stooges,
Infiniti,
Rufus Thomas,
Lightning Bolt,
Procol Harum,
Clear Light,
Jerry's Kids,
Boogie Down Productions,
The Red Krayola,
Sister Nancy,
Man Eating Sloth,
Donny Hathaway,
Ultramagnetic MC's,
John Foxx,
Eyeless In Gaza,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.